Analysis of Still Life With Peppermint Bottle by Paul Cezanne

In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

One of the most influential painters of the twentieth century was Paul Cezanne. He was willing to break the traditionally accepted artistic practice in order to better portray his artistic creativity. Cezanne was became part of the movement that followed the Impressionists called the Post-Impressionism movement. The artists who were the driving forces behind this movement were Gauguin, Van Gogh, Seurat, and Cezanne. These artists were placed in this grouping because they were the avant-garde artists of the time period, who wanted to be able to express their emotions rather than simply representing what they saw. Cezanne’s Mont Sainte-Victoire seen from The Bibemus Quarry was painted in 1985. Mont Sainte-Victoire is a mountain that is in the South of France and overlooks the Aix-en-Provence, which happens to be the hometown of Paul Cezanne. This work exemplifies the Post-Impressionistic techniques because Cezanne utilized the avant-garde techniques, while at the same time demonstrating the relationship between the artist and the work.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

Stylistically, his painting is an example of the “smooth” manner, characterized by fine technique in the portrayal of illusionistic form. In this painting, Calabrese uses strong directional lighting from the top, left corner of the painting to highlight the scene. It is Caravagesque in the way

Although the items are placed haphazardly on the table the all have a place to be, and fit in the painting creating a harmonious atmosphere. Through the careful placement of vibrant colors and lines, Holbein creates movement

Cimabue’s piece shows a linear formation of the surrounding figures, with both the angels and prophets placed in straight lines. This opposes the realistically situated figures in Giotto’s. Though Cimabue’s formation is linear, the postures and gestures of the figures in his piece are much more fluid and graceful then those in Giotto’s who are much more vertical. This absence of verticality in figures shows the influence Gothic sculpture had on Cimabue’s work. The figures in both show isometric perspective, staying the same size regardless of depth into the imagery. The figures in Giotto’s also seem more grounded and have none of the floating qualities Cimabue’s embodies in his angels. This differentiates the stylistic and realistic natures of the pieces.

Another interesting part of this canvas is the direction of the reflections showing from the water. Van Gogh tries gives us this sense of calm movement with the reflection of the lighting going in a downward course. Also, the artist shows the viewer the grouping from the stars, to the lights from the houses, to the reflection form the water and which again it gives us the sense of the lighting going in a downward motion.

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this

To begin, the proportion of the woman’s gaze accentuates perfection. The eyes introduces a sense of nobility to the piece acquiring a softness at the gaze. Painted with a spherical shape, it allows the appearance to emerge mysteriously throughout the portrait and I quote “Through their roundness, therefore, the mind, knowing itself, is sometimes forced to reveal the secrets thoughts of their